


Wounds: A WayHaught Noir

by airs_of_madness



Category: WayHaught AU - Fandom, Wynonna Earp - Fandom, wayhaught - Fandom
Genre: AU, Alternate Universe - 1940s, F/F, Film Noir, Los Angeles, Old Hollywood - Freeform
Language: English
Status: Completed
Published: 2019-03-04
Updated: 2019-03-04
Packaged: 2019-11-09 01:00:50
Rating: Mature
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 13,630
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17991854
Author URL: https://archiveofourown.org/users/airs_of_madness/pseuds/airs_of_madness
Summary: 1940's Los Angeles - private detective Nicole Haught gets a case that will forever change her life.





	Wounds: A WayHaught Noir

**Author's Note:**

> Greetings! First, thank you for taking a gander. I hope you enjoy this story. A few notes before we begin:
> 
> * I had this play out like a movie in my head. I tried writing it as prose but it just wasn't working for me so I decided to attempt it as a screenplay. I've never written a screenplay before so forgive the mistakes.
> 
> * The story takes place in 1947/1948 Los Angeles. There are some references to popular actors/actresses and establishments of the time. It's heavily influenced by film noirs, such as Gilda and Double Indemnity.
> 
> * Certain songs influenced certain scenes. I've listed the songs at the beginning of the scenes should you decide to listen to them before/during/after reading the scene. I highly recommend giving the songs a listen as I feel they add to the scene.
> 
> * Please feel free to comment! Once again, this is my first attempt at a screenplay, so please be gentle with me haha.

EXT. ABANDONED WAREHOUSE - DAY (Do You Realize - Ursine Vulpine)

 

We see a late 20’s / early 30’s woman with chin length, wavy red hair. She’s dressed professionally in a navy blue button-front blouse and khaki pants. Her look resembles that of Marlene Dietrich. She’s attractive but doesn’t look particularly personable. This is Nicole Haught. She pulls a paper out of her pocket and checks the address written on it. Once verified she enters the abandoned warehouse. The space is sprawling but she can see something at the other end of the room from where she stands.

 

INT. ABANDONED WAREHOUSE

 

Nicole slowly makes her way to a large vat at the other end of the warehouse. As she gets closer we see it is full of molten metal. There is a makeshift suspension bridge hanging above it with three women bound to it and gagged - the Earp Sisters.

 

NICOLE

Shit!

 

She remains in her spot, the women fidgeting and whimpering above the vat as she tries to figure out a way to get to them when a voice comes on over the loudspeaker.

 

MAN

Miss Haught. How nice of you to join us.

(clicks teeth)

I’m sure you’re wondering what is going on. And I’m positive that chivalrous brain of yours is trying to figure out how to save them. Well, I have bad news and I have good news.

(pause)

The good news is they can be saved. The bad news is you can’t save all three of them.

(pause)

Oh, and there’s more bad news. You have to kill one to save the other two. The fun part is you get to decide who doesn’t get to live. Who doesn’t want to play God, right? You have 30 seconds to decide. They are each hooked up to a heartbeat monitor. If all three heartbeats are still going when the 30 seconds is up, they all fall into the molten metal. If you try to shoot the apparatus and all heartbeats stop at once, they fall into the molten metal. But the stopping of one heartbeat will halt their lowering.

 

A loud click echoes through the building and the bridge slowly begins its descent towards the bubbling bright orange liquid. The three women’s screams are muffled by their gags.

 

MAN (cont'd)

Tick tock.

(clicks teeth)

 

Nicole frantically makes her way around the vat trying to find a way to access them or whatever it is they are hooked up to. She is unsuccessful. With time ticking away she pulls out her gun, tears in her eyes, and aims.

 

CLOSE on a ventilation fan turning as we hear the shrill blast of a gunshot.

 

INT. NICOLE’S OFFICE - ABOUT TWO MONTHS EARLIER, PREDAWN (Advice & Vices - Chelsea Wolfe)

 

CLOSE on the fan blades from the fan on Nicole’s desk.

 

OFF SCREEN - The flint of a lighter clicks.

 

CLOSE as the flame makes contact with the tip of a cigarette.

 

ZOOM OUT to see the cigarette is hanging from the lips of Nicole. She removes the cigarette with her right hand and gently rests her left hand on her right chest, wincing as she makes contact. She inhales deeply.

 

Several manila folders and black and white crime scene photos are scattered about her desk. We see that the folders have the name “Elizabeth Short” written on their tabs, and the photos are of the infamous Black Dahlia body. Nicole glowers at them as she smokes her cigarette. The rays from the rising sun begin to fragmently frame her through the slatted window blinds from behind. She swivels around to look out the window. Aside from a single car driving by, the street is quiet and empty. Nicole swivels back around, gathers everything into a neat pile and stands, grabbing her coffee cup as she walks out of her office.

 

INT. NICOLE’S OFFICE BUILDING, KITCHEN AREA

The kitchen area of Nicole’s office space is quaint with a sink, a stove, a percolator,  a small ice box, and a breakfast nook with a plain wooden table. Nicole retrieves a tin coffee can from an overhead cabinet only to find that it’s empty when she opens it.

 

NICOLE

(slamming the tin on the counter)

Damn it!

 

She looks at her watch. CLOSE on her watch face. It is 7:38 AM.

 

NICOLE

(muttering)

Almost a quarter ‘til.

(pauses, pondering)

Gretta’ll be here soon. It’s fine. I can make a quick trip home.

 

EXT. NICOLE’S OFFICE BUILDING

 

Nicole locks the door. It has a frosted glass panel which reads:

 

NICOLE HAUGHT

PRIVATE DETECTIVE

 

She gets into her 1945 slate blue Buick and backs out of the driveway. She takes four left turns around the block before parking in the driveway of her bungalow at the opposite end of the street.

 

INT. NICOLE’S OFFICE BUILDING, ENTRANCE/RECEPTION AREA

 

Nicole is just arriving. A woman around the same age as Nicole is sitting properly at her desk. Her long black hair is pulled back with pin curls in the front. This is Nicole’s secretary, and the closest thing she has to a best friend, Gretta.

 

NICOLE

(showing off the tin coffee can, slightly annoyed)

I brought coffee.

 

GRETTA

(tapping her pencil on her desk)

Great! So did I _and_ it’s ready.

 

Nicole sneers at Gretta and makes her way to the kitchen area, discreetly sniffing the aroma of the coffee on the way. She pours herself a cup and walks back to Gretta.

 

GRETTA (cont'd)

On a more important note, Sergeant Dolls sent you a welcome back gift.

(she winks at Nicole)

 

Nicole notices that her office door - which she’d left wide open - is now only slightly ajar. She can see the partial back of a woman sitting in front of her desk. She furrows her brow at Gretta, who smiles widely in response.

 

INT. NICOLE’S OFFICE (Cupid de Locke - The Smashing Pumpkins)

 

A woman slightly younger than Nicole is sitting in a chair across from Nicole’s desk. She resembles a caramel-haired Veronica Lake, clad in a Carolina blue dress with a white cartwheel hat. She’s not particularly wholesome, nor is she quite the femme fatale. This is Waverly Earp. Nicole enters the room from behind her.

 

NICOLE

Good morning.

 

Nicole closes the door behind her. Waverly jumps at the greeting.

 

NICOLE

I'm terribly sorry. I didn't mean to startle you.

 

Nicole sets down her cup of coffee as Waverly stands to greet her. Their eyes lock as the shorter woman’s gloved hand takes Nicole’s. They are lost in each other’s gaze.

 

NICOLE

I’m…

(pause)

I’m sorry I scared you. Nicole Haught.

 

WAVERLY

(laughs nervously)

No need to apologize. I’m just a bit jumpy.

(pause)

A lady private detective. That’s different.

(pause)

Not bad, just different.

 

NICOLE

I wish the rest of Los Angeles shared the same sentiment.

 

WAVERLY

Miss Haught, I’m...

 

Gretta opens the door, interrupting Waverly and causing her and Nicole to abruptly release their handshake.

 

GRETTA

Miss Earp, I forgot to ask you if I can get you a coffee or some water. My apologies.

(she shares a glance with Nicole)

 

WAVERLY

No, thank you. And please, call me Waverly.

 

Gretta leaves and closes the door behind her. Both Waverly and Nicole sit in their respective seats, almost breathless from their intense handshake. Nicole opens her notebook and retrieves a pen from her shirt pocket.

 

NICOLE

So what can I help you with, Miss Earp?

 

Waverly takes a photo out of her purse and places it in front of Nicole. The photograph is of a woman in her late 20’s/early 30’s with dark, voluminous hair dressed in Old West garb on a movie set. Nicole leans in to get a better look at the photograph.

 

NICOLE

Wynonna Earp, the actress? You’re related?

 

WAVERLY

She’s my sister, and she’s gone missing. You see, she’s not quite the lady everyone expects her to be and…

 

NICOLE

Oh, I’m well aware of her reputation.

 

Nicole notices the slightly offended look on Waverly’s face.

 

NICOLE (cont’d)

Sorry, I’ve just...I’ve heard the stories.

 

WAVERLY

Apparently so has all of the LAPD because they didn’t seem to be too keen on looking into things. That’s why Sergeant Dolls recommended you. He said you’re the best and can help me more than they can at this point.

 

NICOLE

(she flashes Waverly a quick dimpled smile)

Well, he’s not wrong. Has this happened before?

 

WAVERLY

Not for this long. That’s why I didn’t report it right away, as she has a habit of disappearing.

 

NICOLE

How long has she been gone?

 

WAVERLY

About a week now.

 

NICOLE

Where was she last seen and who was she with?

 

WAVERLY

From what I understand she was last seen at the Purgatory Lounge with an unknown woman and Doc. That’s about as much information as I have regarding that night.

 

NICOLE

Right, she’s in a relationship with John Holliday.

(pause)

I also hear he has quite the temper.

 

WAVERLY

Doc’s not the easiest actor to work with. Then again, neither is Wynonna. That’s probably why they’re perfect for each other. He’s nice enough when he wants to be. But he does care deeply for Wynonna. You don’t think he has anything to do with this, do you?

 

NICOLE

Is there any reason I should suspect him? Had they fought recently?

 

WAVERLY

(chuckles at the question)

They’re constantly fighting. Then making up. Then fighting again. It’s their schtick.

 

NICOLE

Understood. And do you know of anyone who’d want to hurt your sister?

 

WAVERLY

Wynonna is far from a saint, but I can’t think of anyone who’d want to cause her harm.

 

NICOLE

Was she involved in anything fishy?

 

WAVERLY

(snickers)

Yeah, show business.

(her face turns serious again)

I don’t know, probably. It is Wynonna.

 

NICOLE

Well, Miss Earp…

 

WAVERLY

Waverly, please.

 

NICOLE

(smiles politely but does not correct herself)

We don’t have a whole lot to go on, but something tells me your sister is fine. I’ll find her, don’t you worry. I’ll be in touch soon.

 

As Nicole begins to stand Waverly reaches for her hand from across the desk.

 

WAVERLY

Thank you so much. I’m confident you’re just the woman for the job.

 

Waverly releases the redhead’s hand and Nicole walks her out. Gretta has a sly grin.

 

NICOLE

(as she’s walking back to her office)

Gretta, draw up a contract for Miss Earp. And reschedule the rest of today’s appointments please.

 

GRETTA

(teasingly)

She wants you to call her Waverly, remember?

 

NICOLE

Fat chance.

 

GRETTA

And why not?

 

NICOLE

Because that’s trouble, Gretta, that’s why not.

 

Nicole closes the door to her office.

 

EXT. THE EARP HOMESTEAD, THE FOLLOWING DAY (Candy Girl - Trailer Trash Tracys)

 

Nicole’s Buick pulls into a sprawling driveway that leads up to a revival-style mansion - the Earp homestead. Nicole exits the vehicle with a large envelope in hand and pauses, staring in awe at the estate. She continues on her way to the door, rings the bell, and waits to no avail. She rings again with the same results, then tries knocking. With a sigh she begins to walk the perimeter of the mansion. She finds the fence that closes off the backyard. It has large gaps between the posts through which Nicole can see a finely manicured lawn and someone swimming in a crystal clear pool.

 

EXTREME CLOSE UP on the crests of water created by Waverly’s body.

 

Waverly, clad in a white one piece, backstrokes across the pristine water, the parts of her that are exposed shimmer in the sun as if she were encrusted with diamonds. Nicole watches quietly for a minute, almost physically unable to speak, before announcing her presence. Nicole clears her throat causing Waverly to jump mid stroke. Waverly swims to the edge of the pool nearest the fence.

 

NICOLE

Excuse, Miss Earp. Hi, it’s Nicole Haught. I stopped by to drop off the contract.

 

Nicole holds the envelope up as if showing proof.

 

NICOLE (cont’d)

I rang the bell a couple of times but nobody answered.

 

WAVERLY

Oh, Detective Haught! I’m terribly sorry, we don’t keep maids or butlers on staff anymore now that it’s just Wynonna and me. Give me a second and I’ll open up for you.

 

Waverly lifts herself out of the pool, glistening, rays jumping off her. Nicole is once again entranced. Waverly inconspicuously notices and dons a coy smile. She puts on a mint green robe and heads in the direction of Nicole before diverting to the right where the fence door is located.

 

NICOLE

(walking to the door)

Oh, I’m not actually a detective. And I apologize for the intrusion. Gretta said she had called to inform you that I would be by today.

 

Waverly unlatches the door and opens it to let Nicole into the backyard.

WAVERLY

She did.

(she gives Nicole a somewhat flirtatious smile)

So, how do I refer to you then?

 

Nicole steps into the yard and hands Waverly the envelope.

 

NICOLE

Just Haught...or Nicole, if you prefer.

 

WAVERLY

Then you’ll have to start calling me Waverly as I’ve asked.

 

NICOLE

(chuckles under her breath)

Then Haught will be fine, Miss Earp.

 

WAVERLY

Very well. Join me for some lemonade, yes?

 

Waverly gestures to a circular table with an umbrella sprouting from the center surrounded by four chairs. She begins to walk towards it. Nicole hesitates, then follows.

 

NICOLE

I really shouldn’t.

 

WAVERLY

Oh, I’m sure you must have some more questions for me? This is a work-related visit, is it not?

 

Waverly sits and pours two glasses of lemonade.

 

NICOLE

Alright, I’ll bite, Miss Earp.

 

Nicole sits and takes out her notepad.

 

NICOLE (cont’d)

What studio is Wynonna currently under contract with?

 

WAVERLY

Compass Studios, owned and run by Juan Carlo.

(leans in and lowers her voice)

You know, his real name is John Carlson but he thought he could make more of a name for himself with something more exotic sounding. Isn’t that wild?

 

NICOLE

Like a pack of wolves. Is she on good terms with the studio at the moment?

 

Nicole absentmindedly fiddles with her bandages through her shirt. Waverly notices but doesn’t mention it.

 

WAVERLY

Well, as you know, they’ve had some trouble with her maintaining her image. But Mr. Carlo adores Wynonna. He’s very protective of her. Like a father almost.

 

NICOLE

She’s making him a lot of money. Has there been any issues with rival studios?

 

WAVERLY

Yes, but this was years ago. When my sister first got into the business, Del Rey Pictures was fighting hard to get her. Robert Svane was furious when she signed with Compass. Then Del Rey got Constance Clootie and he didn’t seem to care so much after that. This town is so vicious and fickle, wouldn’t you agree?

 

Nicole is silent staring into Waverly’s eyes, examining them.

 

WAVERLY

Detective? Is everything alright?

 

NICOLE

(somewhat flustered)

Yes, yes, I was just...I...um...I was just…

(clears throat, regains her composure)

It looked like you had something in your eye. An eyelash perhaps. My apologies. Anyway, you said was with Doc and an unknown woman. Have you spoken to Doc at all? Do you have any ideas as to who this mystery woman is?

 

Waverly is confused by Nicole’s behavior at first, but goes with the flow of the conversation.

 

WAVERLY

I’ve certainly tried. That scoundrel is harder to get a hold of than the president! Aside from me and Doc, Wynonna doesn’t really have many friends. She’s kind of a lone wolf...like you.

 

NICOLE

What makes you think that?

 

WAVERLY

Oh, just a hunch.

 

NICOLE

Right. Well, I should be on my way. I need to pay Mr. Holliday a visit. I’ll be in touch, Miss Earp. Do you work? If so, may I get that information from you in case I can’t find you here?

 

WAVERLY

Absolutely, Detective. I work part-time in the archaeology department at the Museum of Natural History.

 

NICOLE

Of course, you do.

 

EXT. WESTERN MOVIE SET - LATER THAT DAY - CLOSE ON THE DIRT GROUND AS HORSE HOOVES BEGIN TO RUN BY

 

OFF SCREEN - A male voice shouts “cut!”

 

ZOOM OUT to the full set

 

People with various jobs bustle about, the actors stay close to the center. There are old building fronts (a saloon, a bootmaker, etc.) and large cameras on either side of the actors, all dressed in western clothes.

 

FOCUS on a dashing cowboy with ear length brown hair and a thick mustache - John “Doc” Holliday. He takes off his hat and wipes his brow, nodding to an unintelligible statement from an assistant as he walks off the set and makes his way to his trailer. As he’s about to open the door a voice stops him.

 

NICOLE

Mr. Holliday. I’m Nicole Haught, a private investigator hired by Waverly Earp.

 

Doc shakes Nicole’s hand. He speaks with a southern accent.

 

DOC

Pleasure to meet you, Miss Haught. Call me Doc, everyone does.

(He smiles)

Please come in.

 

Doc motions for Nicole to enter his trailer, she follows.

 

INT. DOC’S TRAILER

 

A small space with a sofa, a chair, a table, and a sink. Various pieces of western attire are strewn about along with pages of a script. Doc moves the items around creating a clean place for Nicole to sit. He motions to the sofa where she settles, taking out her notebook in preparation. He sits across from her.

 

DOC

Now, how can I be of service? I assume this has something to do with Wynonna.

 

NICOLE

Why do you say that?

 

DOC

Because Wynonna is three things: witty, sexy…

(he pauses to light a cigarette, offering one to Nicole who accepts)

 

NICOLE

And?

 

DOC

Trouble.

 

NICOLE

When was the last time you saw Wynonna?

 

DOC

About a week or so ago.

 

NICOLE

Weren’t you concerned that you hadn’t heard from her?

 

DOC

(chuckles)

It is not unlike Wynonna to disappear for stretches at a time. Hell, half the time I am with her when she does.

 

NICOLE

(scribbling in her notebook)

I have reports that you were with her and an unknown woman at the Purgatory Lounge. Who was this mystery woman?

 

DOC

Why, her sister. And from what I understand they got themselves into quite the situation after my departure.

 

NICOLE

Miss Earp, Waverly that is, didn’t mention being there. What kind of situation are we talking about here?

 

DOC

(exhaling a large plume of smoke)

It was their eldest sister, Willa. She does not come around much but when the two of them are together...oh boy, you best watch out! Apparently they set the women’s restroom on fire and Willa stabbed the bartender with a broken glass when he refused to serve them. Svane, the owner, was furious. Now if someone was on his bad side _and_ went missing, I would look into him. That man has more money than God and more connections than the devil himself. If he wants someone gone, they are already a ghost.

 

NICOLE

And what else do you know of this older sister? Do you know where I can find her?

 

DOC

Willa lives in Malibu. That is all I know. Now you say you are a private investigator. Why are the police not involved?

 

NICOLE

Miss Earp thought more attention could be provided by someone in the private sector. And she’s right. I will find her one way or another.

 

DOC

You mean dead or alive.

 

NICOLE

(puts out cigarette in a nearby ashtray)

One way or another, Mr. Holliday. I best be on my way.

 

INT. PURGATORY LOUNGE, ROBERT SVANE’S OFFICE - THE NEXT DAY

 

Nicole is waiting in the large, lavish office that overlooks the interior of the Purgatory Lounge. The walls are painted a deep red and the furniture is heavy, dark wood. There are trinkets and statues placed here and there. She is accompanied by a tall blonde haired, baby faced man in an umber suit - Champ Hardy, one of Robert Svane’s main henchmen. He stares at Nicole as she paces around the office.

 

NICOLE

Can I help you with something?

 

CHAMP

No. I’ve just never seen a lady cop.

 

NICOLE

(looking at the trinkets and statues Svane has on display)

I’m not a cop, I’m a private detective.

 

CLOSE on an onyx statue with a small blood stain crusted on it.

 

CHAMP

Well, I didn’t know a woman could be whatever you are.

 

A tall, imposing man in a dark pinstripe suit enters the room - Robert Svane. His black hair is slicked back and he dons a dark beard with a white patch on the left side. He has a bold presence.

 

SVANE

Why, Champ, women can be lots of things.

(he clicks his teeth and motions with one hand for Champ to leave)

Don’t mind Champ. He’s dumb as rocks but he’s on top of things...including your employer.

 

Nicole squints at him suspiciously.

 

SVANE (cont’d)

But that’s neither here nor there. Now, Miss Haught, what can I do for one of my favorite regulars?

 

He takes a seat at his desk and lights a cigarette. Nicole takes a seat across from him and takes her notebook from her pocket.

 

NICOLE

I wouldn’t say I’m a regular anymore.

 

SVANE

Semantics. Either way, I make it a point to know my regular - and former regular - patrons.

(he grins at her)

 

NICOLE

So what can you tell me about Wynonna Earp?

 

SVANE

Oh, she’s a lovely girl.

 

NICOLE

See, Mr. Svane, that’s not what I hear. I know you’re not her biggest fan. I know you tried your damnedest to get her to sign with you and she turned you down. And I know she created quite the scene here a week ago. She pisses you off and then, suddenly, she disappears.

 

SVANE

(clicks his teeth, the expression on his face changes to a more menacing one)

Fine. Wynonna Earp is a goddamn swigger and a share crop. No matter how hard Juan Carlo over at Compass tries to hide it, everyone knows. I don’t need her, nor do I want her. Del Rey has Constance Clootie, and we all know that’s where the real magic is at. And yes, she and her sister were here last week. Yes, those two trollops trashed my restrooms and injured one of my finest bartenders. I did ban them, but I did not murder them.

 

NICOLE

No one said anything about murder, Mr. Svane.

 

SVANE

Oh, but you are thinking it.

(clicks his teeth)

If I had wanted Wynonna Earp dead, you would have read her obituary months ago. Now, Miss Haught, if that is all, I have work to do. Feel free to leave your card with Champ on your way out.

 

INT. NICOLE’S BUICK - AFTER THE VISIT WITH SVANE

 

Nicole is driving back to the office. A prominent scowl adorns her face. She is not pleased with the information she’s just received, moreso for personal reasons than professional ones.

 

INT. NICOLE’S OFFICE BUILDING, RECEPTION AREA - LATER THAT AFTERNOON

 

Nicole enters the room and heads straight for her office where she pours herself a glass of scotch from the wooden cabinet in the corner.

 

GRETTA

Well, hello to you, too.

 

Gretta she pours herself a drink.

 

GRETTA (cont’d)

What’s going on?

 

Nicole plops down in her chair and lights a cigarette.

 

NICOLE

Nothing.

 

GRETTA

Oh, this is not “nothing”. You haven’t been like this since...well, since she whose name we do not speak.

 

NICOLE

You can speak her name now. I’m over that.

 

GRETTA

Fine. Since Clementine. Bad turn of events out there?

 

NICOLE

Well, I found out - from Robert Svane no less - that Miss Earp is in a relationship with Champ Hardy, one of his associates.

 

GRETTA

Oh.

(takes a sip)

I can’t say I’m surprised. I mean about her having a boyfriend. Good thing the relationship between you and Waverly - I’m sorry, I mean Miss Earp - is strictly professional, right?

 

She gives Nicole a mischievous smile.

 

GRETTA (cont’d)

It is a little suspicious that it’s Hardy, though.

 

NICOLE

Exactly what I thought. I hate to say it, Gretta, but I may have to add Miss Earp to the suspect list.

 

GRETTA

What does she have to gain from Wynonna being out of the picture?

 

NICOLE

I don’t know. Money. It’s always money. Or women. Greed and lust - the patron sins of Los Angeles. Maybe she conspired with Hardy and Svane to get rid of her somehow.

 

GRETTA

She just didn’t strike me as the greedy type. I know, I know, “don’t let your guard down”. I just didn’t get that feeling from her. Do you really think she could have something to do with this?

 

NICOLE

(somewhat reluctantly)

No. But I can’t dismiss it either. I’m going to have to terminate the contract and pass this case on to the pd. Can you call her and ask her to come by first thing tomorrow?

 

Gretta nods and finishes her drink.

 

INT. NICOLE’S OFFICE - THE FOLLOWING DAY

 

PAN UP from Waverly’s back to see Nicole standing by the window, cigarette in hand, across from the sitting woman.

 

NICOLE

Truth is, Miss Earp, I’m obligated to inform you that I’ll be passing this on to the police. I can no longer work this case.

 

Waverly

(visibly shocked)

Why?

 

NICOLE

You’ve been withholding information from me, which has created a...a conflict of interest.

 

WAVERLY

Withholding information? Miss Haught, I would never! I love my sister and am genuinely worried about her.

 

NICOLE

You failed to tell me you were in a relationship with Champ Hardy, one of Robert Svane’s associates. You failed to mention that you have another sister.

 

WAVERLY

I didn’t think that my private life was under scrutiny here.

 

NICOLE

(raises her voice)

Well, it is!

 

Waverly recoils.

 

WAVERLY

I-I’m sorry. I really didn’t think that was important. I didn’t even know Willa was in town. She was supposed to be abroad for several months. I shouldn’t be surprised, though. Once those two get together I’m all but forgotten.

 

Nicole appears as if she wants to say something but holds back. Waverly has a thoughtful look to her.

 

Waverly (cont'd.)

Take a short drive with me, detective?

 

EXT. THE ROOSEVELT HOTEL

 

INT. THE ROOSEVELT HOTEL, HALLWAY

 

Waverly and Nicole are standing in front of the closed door to room 27. Waverly has the key in hand and prepares to open the door.

 

WAVERLY

This is the room they always get when they go on a bender together.

 

NICOLE

That would have been helpful earlier.

 

WAVERLY

Oh, quit your griping. You got paid, didn’t you?

 

Waverly turns the key and opens to door to a messy room. Clothes, makeup, shoes, and bottles are strewn about. There are two beds, each occupied by a dark haired woman sprawled across. Waverly briskly walks to the window and aggressively opens the curtains. The two formerly sleeping women groan. Nicole waits in the doorway, her left hand unintentionally on her wound, and watches as Waverly frantically tries to tidy up and begins to scold her sisters.

 

WAVERLY

Honestly, you two! A - thanks for telling me you were back, Willa. B - What the hell, Wynonna?! I thought you were dead. I hired a private detective to find you!

 

WILLA

(dryly)

I’m back.

 

WYNONNA

You’ve just been so busy with...what’s his name? Chump?

(laughs and snorts)

 

WAVERLY

You know damn well CHAMP and I broke up weeks ago.

 

NICOLE

You did?

 

Waverly turns to Nicole and smiles shyly.

 

WYNONNA

You should’ve hired a p.i. to find your sense of humor, sis. This was all a gag. Now that you’re here the party can really get started.

 

WILLA

Ugh, is that what you’re wearing? And who’s the broad?

 

WAVERLY

Willa! She’s not a broad, she’s the private detective I hired.

 

WYNONNA

(jokingly to Willa)

Oh, she’s good.

 

Waverly angrily begins throwing articles of clothing and makeup at her two sisters.

 

WAVERLY

Get up, check out, and get home! You do not want me to come back here!

 

Waverly pushes Nicole out in front of her before slamming the door shut.

 

WAVERLY

I’m sorry, Miss Haught. Wynonna can be quite the handful on her own, but the two of them together is...a nightmare. At least your case was solved, right?

 

NICOLE

Right.

 

EXT. NICOLE’S BUNGALOW - A COUPLE OF DAYS LATER, LATE AFTERNOON

 

Nicole’s Buick pulls into the driveway of her pale blue bungalow. As she’s getting out of her car a dark red Lincoln pulls up to the sidewalk. Waverly exits the Lincoln.

 

NICOLE

Miss Earp, did you follow me home?

 

WAVERLY

Indeed I did.

 

Waverly walks up to meet Nicole in front of her door.

 

WAVERLY (cont'd)

Why do you drive all the way around the block instead of just going down the street?

 

NICOLE

I was paranoid about an unhappy client following me home, which I hope is not what this is.

 

WAVERLY

No, not at all. I actually wanted to apologize for wasting your time and thank you for your help. Maybe I could buy you a nice dinner tomorrow? If you’re free, that is.

 

NICOLE

Well, I suppose that would be alright given that you are no longer my employer.

 

WAVERLY

Great. Meet me at the Dresden tomorrow at six.

 

Waverly shakes Nicole’s hand and smiles at her before returning to her car and driving off, leaving a dumbfounded Nicole still standing on her porch.

 

INT. THE DRESDEN - THE FOLLOWING EVENING (Loretta Young Silks - Sneaker Pimps)

 

The white leather booths stand out next to the crimson walls and dark wooden posts of the Dresden. Waverly and Nicole are sat in a circular corner booth having post dinner drinks. There is a glass of wine in front of Waverly and a scotch in front of Nicole. A candle in a glass holder sits in the middle of the table, flickering. The room is dimly lit and the shadows dance on the faces of the two women.

 

NICOLE

So how are things with your sisters?

 

WAVERLY

It’s only been a day and I feel like I’m six again. It’s been awhile since I’ve felt so unwanted.

 

NICOLE

Oh, you are wanted, Miss Earp.

 

WAVERLY

How’s that?

 

NICOLE

(visibly embarrassed by her stumble)

I just mean that you’re a very nice person and people must be vying for your company.

 

WAVERLY

It’s not like that at all, actually.

 

Waverly solemnly pauses, takes a drink, and adopts a sunny disposition once more.

 

WAVERLY (cont’d)

So, detective…

 

NICOLE

(laughs)

I’m not a detective, remember?

 

WAVERLY

Right. So may I call you Nicole? I’m going to call you Nicole from now on.

 

Nicole absentmindedly fiddles with her wound.

 

NICOLE

Alright.

 

WAVERLY

So, Nicole. What happened to your chest there?

 

Nicole looks at her questioningly.

 

WAVERLY

You often rest your hand there or try to adjust something.

 

NICOLE

Oh. I didn’t realize I was doing that. I was shot a couple of weeks ago.

 

WAVERLY

You were shot?! Oh my! That must have been a dangerous case.

 

NICOLE

The Black Dahlia murder. I was brought in by the LAPD for additional support. Had a run in with a potential suspect that didn’t end so well.

 

WAVERLY

The Elizabeth Short girl? That was horrific. You’re so brave, Nicole.

 

Nicole smiles bashfully and takes a sip of her scotch.

 

WAVERLY

Well, now that that’s been covered. Let’s move on to my next question. You blend in well but you’re not from around here are you?

 

NICOLE

What gave it away?

 

WAVERLY

Oh, you know...everything. Where do you hail from?

 

NICOLE

Boring, Oregon.

 

WAVERLY

Oregon is lovely and far from boring! It’s actually…

 

NICOLE

(almost spits out her drink)

No, no, the town is called Boring.

 

WAVERLY

(intrigued)

And why did you leave? Got bored?

 

NICOLE

Something like that.

(pause)

I just thought I could do more elsewhere. And so here I am.

 

WAVERLY

Here to save damsels in distress and take down the likes of Robert Svane.

 

NICOLE

(sighs)

Everyone knows he’s up to no good, but nobody does anything about it.

 

WAVERLY

Well, he does own pretty much the whole city.

 

NICOLE

I just need some hard evidence, and to seek out the people who aren’t in his pocket, and I can bring him to justice.

 

WAVERLY

(impressed)

You really are going after him, aren’t you?

 

NICOLE

I guess so. But enough about me, Miss Earp. I know almost nothing about you and that’s not a good look on a private investigator.

 

They hold each other’s gaze for a moment. Just as Waverly is about to speak a man slams his drink down on the table and abruptly slides into the booth. He puts his arm around her.

 

CHAMP

Waverly! Baby! I’m so glad you’re here. We really need to talk.

 

Champ kisses Waverly’s cheek multiple times before she pushes him off.

 

WAVERLY

Champ! Please! I’m with a friend! And aside from that, you and I are no longer a thing so please leave me alone.

 

NICOLE

It’s okay. I should be going anyway.

 

WAVERLY

Nicole, please stay. Champ, you need to leave.

 

CHAMP

Baby, we really need to talk.

 

NICOLE

Really, it’s fine. I’m going to go.

Nicole begins to rise and exit the booth. She has her hand on the table which Waverly places her own over, mouthing “I’m sorry”. Nicole gives her a curt smile before walking out.

 

EXT. PURGATORY LOUNGE - LATER THAT NIGHT

 

A small, bright red neon sign hangs outside of a nondescript brown building. The parking lot is filled with vehicles. We see Nicole walking into the establishment.

 

INT. PURGATORY LOUNGE (Lullaby - The Cure)

 

The walls are lined with gold filigree sconces with red bulbs. The room is washed in a low, red light. Waitresses and other staff hurry about. As we pan around the room, famous actors and actresses are seen scattered throughout the large main area- Clark Gable is at a table talking and laughing with some other men over cigarettes and drinks; Rita Hayworth and Marlene Dietrich are in a corner booth, flirting with each other; John Wayne is taking whiskey shots at the bar; etc. Above the main room is Robert Svane’s office. Most of the blinds are closed except for one panel where a shadow figure overlooks their audience - Svane. Nicole notices him. She stops at the bar to get a drink and finds an empty table. A buxom dark-haired woman in a short black dress with fringed hem and garters appears next to Nicole’s table. This is Rosita.

 

ROSITA

Well, if it isn’t my favorite private detective. How’s it going, Tyger?

 

NICOLE

It’s going great now. I’m always happy to see you, Rosita.

 

ROSITA

And where’s Clementine tonight?

 

Nicole responds by taking a sip of her drink.

 

NICOLE

Has it really been that long since I’ve seen you?

 

ROSITA

Oh. Well, forget I asked.

 

Rosita takes a seat next to Nicole.

 

NICOLE

There is someone though. She’s bewitched me, Rosie. But she’s...otherwise occupied. Her ex-boyfriend - or current boyfriend, I’m not really sure - interrupted our dinner tonight. I don’t know what I was thinking. Talk about a lost cause.

 

ROSITA

And are you anything to her?

 

NICOLE

Aside from her former employee, no, I suppose not.

 

ROSITA

Then remind me again why you’re drinking your sorrows away?

 

NICOLE

(pauses thoughtfully)

I’m here on business, actually. I need to talk to you, but not here.

 

ROSITA

(skeptically)

Uh-huh.

 

Rosita stands and picks up Nicole’s empty glass.

 

ROSITA (cont’d)

How’s about I get you one more and then we get out of here. I’m off in ten.

 

NICOLE

Works for me.

 

Rosita walks away to get Nicole’s drink. As Nicole waits she returns her gaze to Svane, who is watching her. Their eyes meet and after a couple of seconds the blinds quickly shut.

 

INT. - NICOLE’S BUNGALOW (Night Comes Out - The Raveonettes)

 

There’s a sofa by a bay window with a coffee table in front of it, and a chair adjacent. A small kitchen is off to the right and Nicole’s bedroom is to the left - the sliding doors partially closed. Rosita is sitting on the sofa and we can see Nicole preparing drinks in the kitchen. Once she is finished, Nicole joins Rosita on the sofa - close but not too close.

 

ROSITA

(taking a sip of her drink)

So what did you want to talk about?

 

NICOLE

Svane.

 

ROSITA

Svane? I don’t know how I can help you with that. Is this for a new case?

 

NICOLE

Kind of. I interviewed him recently for another case. I could have sworn I saw blood on one of his statues. Everyone knows he’s up to no good, but he has everyone of note in his pocket.

 

ROSITA

So Nicole Haught is going to take down the most powerful man in Los Angeles? That’s…

(bites her bottom lip)

Ambitious.

 

NICOLE

We’ll see. Have you noticed anything strange since you’ve been working there?

 

ROSITA

That’s a loaded question, Tyger. It is the Purgatory Lounge afterall.

 

NICOLE

I mean has anyone gone missing? Anyone been acting differently.

 

ROSITA

Well, we did have this one guy who was suspected of stealing money. As far as I know he was just fired. And there was this other girl who was starting trouble with some of the guests. She was fired, too. Come to think of it, they both moved away after the fact. But people come and go all the time there. That’s just the nature of the beast.

 

NICOLE

Both of them moved? Don’t you find that a little suspicious?

 

ROSITA

Alls I know is that I wouldn’t want to be on Svane’s bad side. I’d move away, too, if I had wronged him.

 

NICOLE

And the blood on the statue?

 

ROSITA

Might’ve been ketchup.

(smiles and chuckles)

So what’s your plan? Sneak into his office and collect evidence against him like some crime drama?

 

NICOLE

Maybe.

 

Rosita moves closer to Nicole and sets her drink on the table.

 

ROSITA

And in the meantime do you have a minute to relax?

 

Rosita seductively kisses Nicole.

 

NICOLE

Maybe.

 

Rosita begins taking off her garters, throwing one playfully across the room where it lands on a gramophone. Nicole follows suit, unbuttoning her blouse while kissing Rosita. Rosita stands to go to the bedroom, but Nicole pulls her hand and guides her back to the sofa.

 

NICOLE

No. Here.

 

Rosita smiles mischievously before slipping out of her dress and straddling the unclothed investigator. She begins grinding into Nicole as Nicole feverishly kisses her neck.

 

ROSITA

Oh, Tyger!

 

Nicole flips Rosita onto her back on the floor and quickly buries her head between Rosita’s legs.

 

NICOLE

(hushed and muffled)

Mmmm...Waves.

 

ROSITA

(in between moaning)

Wait for what, Tyger?

 

Nicole stops what she’s doing and looks up at Rosita.

 

NICOLE

What?

 

ROSITA

Didn’t you just say for me to wait?

 

NICOLE

Oh. No. I didn’t say anything.

 

Rosita pushes Nicole’s head back betwixt her legs.

 

ROSITA

Then get back to work.

 

EXT. NICOLE’S BUNGALOW - THE NEXT DAY

 

Waverly is standing on Nicole’s doorstep with a basket of muffins. She knocks on the door and waits patiently. Nicole finally answers. She stands in the doorway with the door half opened.

 

WAVERLY

I feel terrible so I brought banana muffins. I hope that’s okay.

 

Before Nicole can respond Rosita pushes past her to exit.

 

ROSITA

I’m heading home. See ya later, Tyger.

 

Rosita smiles at Waverly as she walks past her.

 

NICOLE

That’s Rosita. She’s a friend.

 

WAVERLY

(obviously somewhat jealous)

Oh. Do all your friends call you “Tiger”?

 

NICOLE

No, just her. It’s from a poem. “Tyger Tyger, burning bright…”

 

WAVERLY

“In the forests of the night”. Blake.

 

NICOLE

Yeah. She said my hair reminds her of fire...you know, burning bright.

 

WAVERLY

I’m surprised she even knows that poem. Not something one would expect from a barmaid.

 

NICOLE

How do you know she’s a barmaid?

 

WAVERLY

I’ve seen her before when I’ve had to pick up Wynonna from the Purgatory Lounge.

 

NICOLE

(slightly defensive)

Oh. Well, she actually has two degrees and is in the process of getting her Ph.D. The waitressing gig is just to pay her way.

 

WAVERLY

(sheepishly)

Oh. Good for her.

 

They stand on Nicole’s doorstep in silence for a minute, neither of them sure on how to proceed.

 

NICOLE

Would you like some coffee?

 

WAVERLY

I’d love some!

 

NICOLE

(takes the muffins from Waverly with a smile)

Thank you for these. Please come in.

 

Nicole holds the door open for her guest and proceeds to the kitchen to prepare the coffee. Waverly takes a seat on the sofa when she notices something hanging off the gramophone. She stands to retrieve it.

 

WAVERLY

Your “friend” left something behind.

 

Waverly holds the garter out in front of her. Nicole is still in the kitchen and not really paying attention.

 

NICOLE

Oh?

 

Nicole places the percolator on the stove top and turns around to see what Waverly is referring to.

 

NICOLE

Oh!

 

Embarrassed, Nicole quickly grabs the garter from Waverly and shoves it in her pocket.

 

NICOLE (cont’d)

Rosie can get...um...a bit crazy when she drinks. That’s why I let her stay here last night. Better safe than sorry, you know?

 

WAVERLY

Right.

(pause)

You know I actually have some errands to run. I’m sorry, I completely forgot. But please, enjoy the muffins. And feel free to give Rosita some if you see her soon.

 

Nicole remains silent as Waverly leaves without another word. The redhead is disappointed and confused. She sighs heavily and shakes her head in discontent.

 

NICOLE

Nicole, you idiot.

 

EXT. NICOLE’S NEIGHBORHOOD

 

Rosita is walking home after she leaves Nicole’s. A black car pulls up next to her. POV from inside the vehicle, looking out at Rosita - we do not see the driver. Rosita leans on the edge of the open window.

 

ROSITA

Hiya! Long time no see!

(laughs)

You offering a ride or what?

 

Rosita gets into the backseat. Exterior POV - we see the car drive away.

 

EXT. SANTA MONICA BEACH - EARLY MORNING

 

Several days later, an elderly man is walking his golden retriever on the beach. The dog stops and starts barking at something off in the distance.

 

MAN

What is it, boy? What’s wrong, Charlie? It’s just some driftwood. No need to make a ruckus.

 

The dog continues to bark as both he and his owner approach what is thought to be jetsam. As they get closer, we see it is a woman’s body - Rosita. She is discolored and bloated with a bullet hole in the center of her forehead.

 

EXT. NICOLE’S OFFICE BUILDING - TWO DAYS LATER

 

A cab pulls up.

 

INT. NICOLE’S OFFICE

 

Nicole is sitting in her chair looking at files spread across her desk. Her eyes are bloodshot from crying. A glass of scotch sits on her desk and she has a cigarette in hand. There’s a knock on the door. Gretta peeks in.

 

GRETTA

There’s someone here to see you.

 

NICOLE

Unless it’s a client, I don’t want visitors.

 

GRETTA

I think you’ll want this one.

 

Gretta retreats and Waverly enters the room.

 

NICOLE

(clears throat)

Good morning, Miss Earp. How can I help you? Your sister go missing again?

(she attempts a smile)

 

WAVERLY

No, I just wanted to give you my condolences in person. About Rosita. I wasn’t very nice...and I just read the news in the paper. I’m terribly sorry, Nicole.

(she motions to the seat opposite Nicole)

May I?

 

NICOLE

Please.

 

WAVERLY

The paper said the police suspect foul play. Have you heard anything more?

 

NICOLE

Unfortunately, no. Sergeant Dolls thinks Robert Svane has something to do with it.

 

WAVERLY

And what do you think?

 

NICOLE

I know he murdered her. Or had one of his men do it. Either way, he’s behind this. The whole thing reeks of Svane. The question is why. And then there’s the matter of proof. That man can cover his tracks, I’ll give him that. Or at least pay to have them covered for him. I just need some hard evidence, and someone not on his payroll to listen.

 

WAVERLY

That’s easy, just sneak into his office.

 

NICOLE

(suddenly looks at Waverly with wide eyes)

Actually…

 

WAVERLY

I was joking!

 

NICOLE

No, no. That’s a great idea. There’s a premiere tonight, one of his studio’s pictures. He’ll be there. I can get in through the window from the alley out back.

 

WAVERLY

Nicole, you can’t be serious. That’s breaking the law. Aren’t you supposed to uphold it?

 

NICOLE

I’m not a cop. Plus, it’s just bending the law to put a very bad man behind bars. I need to plan this out a little more

(she looks at the door and then back at Waverly)

I don’t mean to be rude, Miss Earp, but would you mind?

 

WAVERLY

Oh, of course not. May I use your phone to call a cab? My car’s getting serviced and Wynonna’s out of town.

 

NICOLE

Gretta will call you one. Just let her know on your way out. Thank you again for coming by, Miss Earp.

 

EXT. NICOLE’S OFFICE BUILDING - THAT NIGHT

 

Nicole locks up the front door before getting into her car. She drives down the street, past her house.

 

EXT. PURGATORY LOUNGE

 

Nicole pulls into the alley and parks. She stares at the window, her entrance to Svane’s office. There’s a dumpster just below it, allowing easy access for someone tall (and stupid) enough. Suddenly, Waverly pops up from the back seat.

 

WAVERLY

I can’t believe you’re actually going to go through with this nonsense idea!

 

Nicole jumps in her seat and turns around bewildered.

 

NICOLE

Jesus Christ! What are you doing in my car?!

 

WAVERLY

Well, I thought if you decided to do this you might need backup.

 

NICOLE

I work alone, Miss Earp. You should go. Goddamnit, you scared me.

 

WAVERLY

Sorry to startle you. I knew you would say no if I asked. I’m not going anywhere. You can’t do this alone. You’ll need a lookout.

 

NICOLE

Fine.

 

They exit Nicole’s vehicle and make their way to the dumpster. Upon closer inspection, they find that the window is slightly cracked. They both climb onto the dumpster and peek inside. Svane’s office is empty and dim. A small lamp is lit on his desk.

 

NICOLE

I’m going to hoist you up first, then I’ll go in.

 

Nicole interlocks her fingers to create a step for the shorter woman. Waverly opens the window enough to slide in. Nicole follows.

 

INT. PURGATORY LOUNGE, SVANE’S OFFICE

 

Waverly makes her way to the closed door and puts her ear against it. Nicole looks for the statue with the blood but it has been removed. She proceeds to search the office for alternative evidence, opening drawers of the desk, checking the bookcase, etc.

 

WAVERLY

(whispers loudly)

Somebody’s coming!

 

They scramble to find a place to hide, settling on a closet at the other end of the room. They watch through the slats of the closet door as several men in suits enter the room from the door on the left - Svane, Champ, and an unknown man. Svane notices the window is open and closes it. He remains standing by it while Champ holds the other man by the collar. Champ and the unknown man have their backs to Waverly and Nicole.

 

SVANE

Tell me again why I had to leave my premiere?

 

CHAMP

There was a problem with the shipment Carl here delivered yesterday.

 

SVANE

(clicks teeth)

Explain.

 

CHAMP

Cryderman was short product. He wants his money back for what’s missing.

 

CARL

(nervous and squirrely)

I don’t know what he’s talking about, Mr. Svane. I delivered exactly what I was supposed to. Cryderman’s lying!

 

SVANE

See, Carl, I want to believe you but that white powder on your nostril makes me think otherwise. Don’t get me wrong…

 

Svane pulls a gun from his back waistband and points it Carl’s head. Waverly gasps. Nicole quickly puts her hand over her mouth, her other arm is holding Waverly close around the waist.

 

SVANE (cont'd)

I admire your moxie, Carl. I really do. But nobody...and I mean nobody...steals from me.

 

With that he pulls the trigger and shoots Carl in the head. The bullet goes clean through his skull and through the closet door into the wall. Nicole holds Waverly even closer, wincing as she presses against her still healing wound. Tears are streaming down Waverly’s face onto Nicole’s hand still covering her mouth.

 

SVANE

(returning the gun to his back waistband)

I have to get back to the premiere. Make sure you tie the blocks on tightly this time. I don’t want another incident like what happened with that bitch. Too close of a call.

 

CHAMP

Yes, sir.

 

SVANE

Oh, and have someone patch that hole and clean up in here early tomorrow. I don’t want to see this mess when I get back.

 

Svane briskly exits the room. Champ drags the body out and closes the door behind him. Nicole and Waverly wait for a minute to make sure the coast is clear before bursting out of the closet. They look at each other for a moment and Waverly hugs Nicole.

 

NICOLE

C’mon, we need to get out of here.

 

INT. NICOLE’S BUICK (The Cold - Exitmusic)

 

The silence in Nicole’s car is fragile as they drive back to the Earp homestead. Nicole reaches for a cigarette from her jacket pocket, which is resting on the seat between the two women. Her hand briefly brushes against Waverly’s; she let’s it linger for a second before continuing her search. She finds the cigarette and lights it. Waverly follows suit, taking a cigarette from her purse, placing it between her lips, and lighting it.

 

EXT. THE EARP HOMESTEAD

 

Nicole’s Buick pulls into the long driveway. She parks and the women sit in silence.

 

WAVERLY

He shot him. And Champ just stood there. Hell, he helped when it comes down to it.

 

NICOLE

I’m sorry, Miss Earp. I’m sorry you had to witness that.

 

Waverly begins to cry.

 

WAVERLY

It was just so...savage.

 

Waverly brushes her hand through her hair and pauses, looking at something on her hand - brain matter.

 

WAVERLY (cont’d)

Oh my God! It’s...he’s...his..

(she’s now sobbing uncontrollably)

 

Nicole sees the substance on her fingers and immediately takes a handkerchief from her pocket to clean her hand.

 

NICOLE

It’s okay, it’s okay. I’ve got you.

 

Nicole pulls the other woman into a gentle embrace.

NICOLE (cont’d)

Let’s get you inside so you can take a nice, hot bath.

 

WAVERLY

Will you stay here tonight? I know it’s unorthodox but I really don’t want to be alone. We have plenty of guest rooms.

 

NICOLE

Sure thing.

(she smiles sweetly)

 

INT. EARP HOMESTEAD, GUEST ROOM

 

Nicole, sitting on the bed, is in the process of removing her shoes in the sparsely decorated bedroom. A dark wood dresser sits across from the foot of the bed. The window to the right is slightly open, a gentle breeze caressing the thin curtains. There’s a knock on the door.

 

NICOLE

Come in.

 

Waverly opens the door slowly. Her hair is damp and she’s wearing her nightgown and a robe.

 

WAVERLY

Hi. I just wanted to see how you were getting along. Do you have everything you need?

 

NICOLE

Oh, sure. I don’t need much. You have a lovely home.

 

WAVERLY

Thank you.

(moves closer to the bed)

May I sit a moment?

 

NICOLE

Of course.

 

WAVERLY

Nicole, I just really wanted to thank you for everything. For the help with Wynonna, for staying here tonight.

 

NICOLE

No need, Miss Earp. I’m sorry you had to see what you did tonight.

 

WAVERLY

Are you ever going to call me Waverly?

 

Nicole responds with a smile but remains silent.

 

WAVERLY (cont'd)

Anyway, it was my own fault. I was the one who snuck into your car and demanded you let me go with you. I just wasn’t expecting...that.

 

NICOLE

Neither was I. I knew he was up to no good, just didn’t think I’d actually see it first hand.

 

WAVERLY

Well, I’m sure you’re tired. I, myself, am exhausted. Sleep well, Nicole Haught.

 

Waverly leans over to kiss Nicole on the cheek. Just as her lips are about to make contact, an unknowing Nicole turns her head to respond. Their lips inadvertently clash. Both are shocked, though neither pulls away immediately. Finally, Waverly pulls away bashfully.

 

WAVERLY

Goodnight, Nicole.

 

She abruptly stands and exits the room leaving a dumbfounded Nicole sitting on the bed, staring at the door.

 

INT. EARP HOMESTEAD, KITCHEN - THE NEXT MORNING (As the Rush Comes: Gabriel & Dresden Chillout Mix - Motorcycle)

 

Waverly is in the large, well naturally-lit kitchen preparing coffee. Nicole enters.

 

WAVERLY

Good morning! I’m making coffee. What would you like to eat?

 

NICOLE

I really should get going, Miss Earp.

 

WAVERLY

Nonsense! You must join me for some coffee at least.

 

Nicole nears the kitchen table where Waverly is setting up cups and nods in agreement.

 

NICOLE

I...uh...I’m sorry about…

 

WAVERLY

I’m not.

 

They are now facing each other in close proximity. They pause before Waverly hungrily pulls Nicole in for a proper kiss. After a few seconds, Nicole grabs Waverly by the wrists and pulls away.

 

NICOLE

(whispers)

Waverly…

 

Waverly stares longingly into her eyes, silently acknowledging the fact that Nicole has finally called her by her first name.

 

NICOLE

You don’t have to…

 

WAVERLY

I want to. I want...I want you, Nicole.

 

At that, their lips make contact again. Nicole then gently kisses Waverly’s neck. She releases a quiet moan. They continue kissing as Nicole lifts Waverly up, who wraps her legs around the redhead.

 

WAVERLY

Mmm...There’s a guest room down the hall.

 

Nicole carries her counterpart to the nearby room. She falls onto her as she rests Waverly on the bed. Nicole slides her hand up Waverly’s dress which elicits a gasp.

 

WAVERLY

Oh God, Nicole.

 

Nicole is hovering over Waverly, propped with one arm as the other hand continues to work between the brunette’s legs. Waverly is unbuttoning Nicole’s blouse, kissing her chest in between moans. She stops for a moment, examining Nicole’s still healing wound. She traces around it with the tips of her fingers before placing a kiss just to the side of it. With Nicole’s shirt draped open, Waverly’s hands move to Nicole’s belt and pants. After unbuckling the belt she slips her hand into Nicole’s now unbuttoned, unzipped trousers. CLOSE on their foreheads pressed together, the morning sunlight streaming in from the window, creating a halo effect.

 

EXT. EARP HOMESTEAD

 

Nicole is leaving Waverly’s mansion. She kisses her goodbye and strolls to her car with a smile on her face.

 

EXT. DINER - LATER THAT DAY

 

Through the large window of the diner we see Nicole sitting at a booth eating lunch.

 

INT. DINER

 

Nicole’s POV - Across the street from the diner, a car pulls up and parks. Waverly exits and Champ comes up to greet her. Nicole watches as they inaudibly speak to each other. She fidgets in her seat.

 

EXT. SIDEWALK

 

WAVERLY

Champ, can we please just end this on a civil note?

 

CHAMP

Civil...ha.

(pauses)

Alright, dollface, then could I just get one more kiss?

 

WAVERLY

No.

 

CHAMP

Oh, c’mon! You owe me that much.

 

WAVERLY

I don’t owe you a damn thing, Champ Hardy!

 

CHAMP

Please? And I’ll leave you alone for good, I swear it.

 

WAVERLY

(mulling it over)

Fine.

 

Champ pulls Waverly in for a kiss. We pull focus to the diner across the street where we see Nicole glaring at them.

 

INT. NICOLE’S OFFICE - SEVERAL DAYS LATER, DAY

 

Nicole is going over files on her desk. Her door is closed. She has a pained look on her face.

 

GRETTA

(off screen from the reception area)

I’ll make sure she gets your message.

(pause)

Yes, I’ve given her the last several, Miss Earp.

(pause)

Okay. You have a good day now.

 

Gretta knocks and enters before Nicole has time to respond.

 

GRETTA

When are you going to respond to this poor girl? You can’t hide from her forever.

 

NICOLE

Watch me. And she’s no angel, Gretta.

 

GRETTA

Look, I know what you saw was not...pleasant. But you don’t know the circumstances.

 

NICOLE

What’s there to know? It’s like I was just some experiment. An experiment with poor results at that. Why else would she have gone back to him so quickly?

 

GRETTA

All I’m saying is that you don’t know the whole story.

 

NICOLE

Why are you defending her? Shouldn’t you be on my side?

 

GRETTA

I am on your side! I know how she makes you feel. I want you to be happy for once, Nicole. Especially after that whole mess with Clementine.

 

NICOLE

Well, I don’t think it’s in the cards for me with this one.

 

GRETTA

You don’t know that.

 

NICOLE

Look here, I’m not paying you for relationship advice! Get back to your desk!

 

Gretta is taken aback by Nicole’s sudden gruff tone. She quietly exits the room. After the door is closed, Nicole sighs deeply shamefully putting her head in her hands.

 

INT. NICOLE’S BUNGALOW - SEVERAL DAYS LATER

 

Nicole is lounging on her sofa reading a book. There’s a knock on her front door.

 

WAVERLY

(from outside)

I know you’re home. Your car is here and I’m tired of playing along with this stupid charade of yours. We need to talk.

 

Nicole waits on the sofa for a minute before getting up to answer the door with a huff. She opens it almost violently.

 

NICOLE

There’s nothing to talk about, Miss Earp.

 

WAVERLY

Are we seriously back to that again?

 

NICOLE

Why wouldn’t we be? You’re back with Champ.

 

WAVERLY

What? I most certainly am not!

 

NICOLE

I saw you together! And right after we...anyway, it doesn’t matter.

 

WAVERLY

Nicole, please, don’t do this. Let me explain. You’re the first person to really see me. I mean the real me.

 

NICOLE

Darling, I barely even noticed you.

 

With that statement, she slams the door in Waverly’s face. Nicole falls back against the door, tears in her eyes, and places her hand over her wound. She can hear Waverly’s heels click as she walks away.

 

INT. NICOLE’S OFFICE - A COUPLE OF DAYS LATER, EARLY EVENING

 

CLOSE on Nicole at her desk with her head resting listlessly on one hand. ZOOM OUT to see Gretta sitting across from her with a mug speaking inaudibly. Gradually the volume is raised and we can now hear Gretta.

 

GRETTA

So what should I tell Dolls?

 

NICOLE

About what?

 

GRETTA

Were you not just here for the past…

(looks at watch)

30 minutes?

 

NICOLE

Sorry, I haven’t been…

 

GRETTA

Yeah, yeah, I know. You haven’t been feeling so great. I think we both know why.

 

NICOLE

It’s flu season.

 

GRETTA

(chuckles)

Oh, sweetie, this is not the flu.

(pause)

Why don’t you just go talk to her? Apologize.

 

NICOLE

I was cruel, Gretta. I’m not a cruel person.

 

GRETTA

I know you’re not. And I think she knows you’re not, too.

 

NICOLE

What am I supposed to say?

 

GRETTA

“I’m sorry” for starters.

 

NICOLE

Yeah, I suppose.

(pause)

Hey, Gretta, I’m sor-

 

Gretta holds up her hand to Nicole.

 

GRETTA

I know.

(pause)

But one Miss Waverly Earp doesn’t. You should go tell her.

 

EXT. EARP HOMESTEAD - LATER THAT EVENING

 

CLOSE on the homestead doorbell. A finger presses it. CUT TO Nicole waiting nervously for someone to answer. It opens. Wynonna is standing at the threshold with a very unamused look.

 

WYNONNA

Well, look who it is.

 

NICOLE

Miss Earp. I thought you were out of town.

 

WYNONNA

I was...and now I’m back. What can I help you with, Haught?

 

NICOLE

Might your sister...Waverly, that is...might she be available?

 

WYNONNA

For what?

 

NICOLE

I just need to talk to her.

 

WYNONNA

Right, right. Well, she’s not here. Sorry.

 

Wynonna begins to close the door. Nicole steps forward and stops it.

 

NICOLE

Wait, wait! Where is she?

 

WYNONNA

You really think I’m going to tell you after what you said to her?

(pause)

Fat chance, Red.

 

NICOLE

That’s why I’m here. To apologize. Please, Wynonna.

 

Wynonna stares at her, pushes her away from the threshold and closes the door. Nicole remains at the door for a moment before turning to walk away. Suddenly the door opens again. We see Wynonna standing in the doorway with a paper in her hand.

 

WYNONNA

She’s at our cabin in Big Bear.

 

She hands the paper to Nicole.

 

NICOLE

Thank you, thank you.

 

Nicole begins to walk away quickly.

 

WYNONNA

Oh, and Haught?

 

Nicole stops and turns around.

 

NICOLE  
Yeah?

 

WYNONNA

Did you ever see my picture “Peacemaker”? That was the first time I ever shot a gun. Had to learn for the role, you see.

 

NICOLE

Oh yeah?

 

WYNONNA

Turns out I’m pretty good with a pistol.

 

NICOLE

Is that a threat?

 

WYNONNA

It doesn’t have to be.

 

Nicole nods and continues her jog to the car.

 

EXT. ROAD - THAT NIGHT (I’m On Fire - Low)

 

AERIAL of Nicole’s car driving on the winding road through the trees of Big Bear.

 

NICOLE’S POV - the headlights illuminating the road ahead of her.

 

EXT. EARP LOG CABIN

 

Nicole pulls up into the unpaved driveway and parks next to Waverly’s car. She exits her vehicle and runs up to the door. Nicole knocks frantically.

 

NICOLE

Waverly, please open up. I need to talk to you.

 

Waverly responds from the other side of the door without opening it.

 

WAVERLY

Go away, Nicole. How did you even find me?

 

NICOLE

(talking to the closed door in front of her)

Wynonna caved. She threatened to shoot me, too, if that makes you feel any better.

 

WAVERLY

Good. Now, what do you want? I thought you barely even knew I existed.

 

NICOLE

I’m sorry, Waverly, I’m sorry. I was wrong to say that.

(places her forehead on the door)

Truth be told, I’ve noticed everything about you since we first met. When you said you worked at the museum? And I said “of course you do”, do you know why I said that? Because your eyes, Waverly. They’re the color of the nephrite jade statues in the precious gem collection. The thing is, sometimes, in just the right light, they turn gray. Like a stormy day, but not violent. Calm and still. With thunder that rumbles low. I noticed that beauty mark just beside your nose and how it’s almost perfectly aligned with the one on your neck just above your collarbone. And how when you smile...and I mean really, genuinely smile...your eyes crinkle in the corners. And how incredibly knowledgeable you are about...well, everything. How honest you are. How kind you are you. But mostly I noticed how empty my life is without you in it. I’m sorry I said what I said. I was scared of getting hurt again. And I ended up hurting you. But really I’m rather fond of you, Waverly Earp.

 

There is a long silent pause. An owl hooting disrupts the stillness. Nicole pulls back when she notices the doorknob turning. Waverly opens the door, tears in eyes as she faces Nicole. They remain silent, staring at each for a moment before Waverly pulls Nicole in for a kiss.

 

EXT. SHOP FRONT - TWO WEEKS LATER

 

CLOSE on a photo of Robert Svane. ZOOM OUT to reveal full stack newspapers and the headline: SVANE ARRESTED; SUSPECTED OF MURDER. Gradually the stack goes down, and a new one replaces it. The date is about a week after the arrest, this time the headline reads: SVANE RELEASED with a photo of him leaving the county jail.

 

Photo turns into the present. Svane gets into the backseat of a black Cadillac.

 

INT. SVANE’S CADILLAC - DAY

 

Champ is waiting in the vehicle when Svane enters. As soon as the door is closed the chauffeur begins to drive.

 

SVANE

Is it true?

 

CHAMP

Sorry to say so, boss. All the businesses have taken a hit since the arrest. Too much heat, some of ‘em didn’t want to be guilty by association.

 

SVANE

Shit! All in a goddamn week!

(pause)

Shit! Shit! Shit! This is all that ginger dyke’s fault!

(clicks teeth)

Oh, she’s going to pay.

(pause)

Champ, my dear boy, do you remember that thing from that one time.

 

Champ instantly knows what Svane is referring to. He gulps and nods.

 

SVANE (cont'd)

We’re going to need it again.

 

INT. NICOLE’S OFFICE BUILDING - ABOUT A WEEK AFTER SVANE’S RELEASE

 

FOCUS on the front door with the frosted glass panel. A shadow appears in the glass. Someone is unlocking the door. Nicole enters. She switches on the lights and walks to her office. She enters and begins to settle when she finds a note on her desk:

 

306 San Pedro

come alone

 

Concerned, Nicole looks around the office for signs of a break in but comes up empty-handed.

 

EXT. ABANDONED WAREHOUSE

 

Nicole is standing in front of the building. She pulls the paper out of her pocket double checks the address written on it. Once verified she enters the abandoned warehouse. The space is sprawling but she can see something at the other end of the room from where she stands.

 

INT. ABANDONED WAREHOUSE

 

Nicole slowly makes her way to a large vat at the other end of the warehouse. As she gets closer we see it is full of molten metal. There is a makeshift suspension bridge hanging above it with three women bound to it and gagged - the Earp Sisters.

 

NICOLE

Shit!

 

She remains in her spot, the women fidgeting and whimpering above the vat as she tries to figure out a way to get to them when a voice comes on over the loudspeaker.

 

SVANE

Miss Haught. How nice of you to join us.

(clicks teeth)

I’m sure you’re wondering what is going on. And I’m positive that chivalrous brain of yours is trying to figure out how to save them. Well, I have bad news and I have good news.

(pause)

The good news is they can be saved. The bad news is you can’t save all three of them.

(pause)

Oh, and there’s more bad news. You have to kill one to save the other two. The fun part is you get to decide who doesn’t get to live. Who doesn’t want to play God, right? You have 30 seconds to decide. They are each hooked up to a heartbeat monitor. If all three heartbeats are still going when the 30 seconds is up, they all fall into the molten metal. If you try to shoot the apparatus and all heartbeats stop at once, they fall into the molten metal. But the stopping of one heartbeat will halt their lowering.

 

A loud click echoes through the building and the bridge slowly begins its descent towards the bubbling bright orange liquid. The three women’s screams are muffled by their gags.

 

SVANE (cont'd)

Tick tock.

(clicks teeth)

 

Nicole frantically makes her way around the vat trying to find a way to access them or whatever it is they are hooked up to. She is unsuccessful. With time ticking away she pulls out her gun, tears in her eyes, and aims.

 

INT. FUNERAL HOME, BATHROOM - SEVERAL DAYS LATER, EVENING

 

CLOSE on Nicole splashing water on her face. She looks at herself in the mirror for a while. She smooths out the pants of her black suit when there is a knock on the door. She opens it to find Wynonna.

 

WYNONNA

You okay there, Haught?

 

NICOLE

Yeah, I’m fine.

 

Nicole begins to walk away, Wynonna grabs her by the arm.

 

WYNONNA

You did what you had to do. And I don’t hold it against you.

 

NICOLE

But I think your sister does.

 

WYNONNA

She’s upset at the situation, not at you. Give her a break, our sister just died.

 

NICOLE

Not helping.

 

WYNONNA

I get that there was no other way. And you saved Waverly’s life which I’m grateful for. Just give her some time. She’ll come around.

 

Wynonna steps into the bathroom.

 

WYNONNA (cont'd)

Be a lamb and tell Waverly I’ll be there in a minute, won’t you?

 

Nicole nods and makes her way to the main room where Willa’s funeral is being held. We see the rows of full seats and the closed casket at the end of the room. A large photo of Willa sits beside it.

 

INT. NICOLE’S BUNGALOW, KITCHEN - SIX MONTHS LATER, EVENING

 

Nicole and Waverly are making dinner. Nicole leans in to kiss Waverly, who slightly turns her head so that the kiss meant for her lips lands on her cheek. Nicole has known something is wrong for a while but hasn’t brought it up. Waverly moves past her and continues to set the table.

 

WAVERLY

I’m going to stay at the homestead tonight. Maybe tomorrow, too. Wynonna had a big fight with Doc. You know how she can get. I need to keep an eye on things.

 

NICOLE

Of course.

 

INT. NICOLE’S BUNGALOW - A FEW DAYS LATER (You Hit Me (I’m Down) - The Raveonettes)

 

Waverly is sitting at the kitchen table drinking her coffee staring pensively off into the distance. Nicole tries to hold the hand Waverly has resting on the table. Waverly pulls away.

 

NICOLE

Okay, Waverly. What is going on with you? With us?

 

WAVERLY

Nothing, I don’t have the slightest idea as to what you’re referring to.

 

NICOLE

Something’s up, doll. You pull away when I try to touch you, you barely look me in the eye. I’ve tried to give you space hoping that would help, but things are only getting worse. Time to fess up.

 

Waverly fidgets with her coffee mug. Nicole has perched herself against the sink. She watches a silent Waverly.

 

NICOLE

Please, Waverly. This is killing me.

 

WAVERLY

Oh, like you killed my sister?

 

NICOLE

There it is.

 

WAVERLY

Fine. I resent you for killing Willa.

 

NICOLE

It was either her or all three of you. There was no other way.

 

WAVERLY

There’s always another way!

 

NICOLE

Not this time, Waves! Besides, you didn’t even like Willa!

 

Waverly stands and slaps Nicole.

 

WAVERLY

How dare you! She was still my sister!

 

Nicole rubs her cheek where Waverly’s palm had just made contact.

 

NICOLE

I’m so sorry. I didn’t mean it like that.

 

WAVERLY

Then how exactly did you mean it?

 

NICOLE

I don’t know. I’m...I’m just...Look, there was no good choice. But I had to make one. And I chose to save you and Wynonna. I’m sorry. You know how sorry I am. But I did what I had to do. I thought you would under-

 

WAVERLY

I slept with Champ!

(covers her mouth)

 

Waverly walks past Nicole into the living room.

 

NICOLE

...stand. I’m sorry, you what?

 

WAVERLY

I slept with Champ. More than once.

 

Nicole follows Waverly into the living room where she plops down onto the sofa.

 

NICOLE

Why?

 

WAVERLY

I needed someone.

 

NICOLE

I was there, Waverly!

 

WAVERLY

(voice cracking)

I needed someone...

(pause)

(clears her throat)

Someone who wasn’t you.

 

Waverly is standing at the bedroom threshold with her back to Nicole. Nicole rises and comes up behind her.

 

NICOLE

(quietly)

Do you still need someone who isn’t me?

 

WAVERLY

(tears streaming down her face)

I don’t know.

(pause)

I think I should go.

 

Waverly picks up her purse from the chair and makes her way to the door. Nicole opens it for her. Nicole’s eyes are watery, we can see that she’s trying not to cry.

 

NICOLE

I think that’s a good idea.

 

Waverly leaves, Nicole closes the door. She slides down with her back against the door and begins to sob.

 

INT. THE FROLIC ROOM - SEVERAL DAYS LATER, EVENING

 

Nicole sits at the bar drinking a scotch and smoking a cigarette. The circular light fixtures above provide a dim shroud of light to the room. Smoke floats throughout like the ghosts of patrons past. A man comes up to the bar next to Nicole.

 

CHAMP

So I guess the novelty wore off, huh?

 

Nicole remains quiet, trying to ignore him.

 

CHAMP (cont’d)

I knew it was only a matter of time before she’d come back to me. What you had going on was sick, and she knew it.

 

Champ lights a cigarette. The bartender comes over to where he’s standing.

 

BARTENDER

What’ll it be?

 

CHAMP

Beer.

 

Champ throws a bill onto the bar.

 

CHAMP

She didn’t even bother to end things with you first, huh? You weren’t even worth that much to her.

 

NICOLE

You might want to stop talking now, Hardy.

 

CHAMP

Or what? You’ll arrest me? You’re not even a real cop. You’re barely a real…

 

Nicole rises and punches Champ in the face. The room becomes silent.

 

CHAMP

(holding his bleeding nose)

You bitch! You broke my nose.

 

NICOLE

I can break a lot more than that if you don’t shut the fuck up.

 

CHAMP

You just wait! I’m going to press charges!

 

NICOLE

Yeah? Then press charges you son of a bitch. Waverly deserves better than you, you pathetic schmuck.

 

Nicole throws some bills onto the bar, pushes Champ, and leaves.

 

EXT. NICOLE’S OFFICE BUILDING - THE NEXT DAY

 

A police car pulls up in front of the office bungalow. A statuesque police officer steps out and makes his way to the front door. He enters.

 

INT. NICOLE’S OFFICE BUILDING, RECEPTION

 

DOLLS

Hi, Gretta. How are you?

 

GRETTA

Sergeant Dolls! Long time no see. Oh, I’m doing swell, just swell. How about yourself?

 

DOLLS

Not so bad, thank you. Is Nicole in?

 

GRETTA

Uh oh. Does this have to do with the Hardy incident from last night?

 

DOLLS

I’m afraid it does.

 

Gretta responds with a frown, stands and goes to knock on Nicole’s office door. She opens it.

 

GRETTA

Sergeant Dolls is here to see you.

 

NICOLE

Shit. Send him in.

 

Dolls enters the room.

 

DOLLS

Haught. How’s that hand of yours?

 

Nicole’s right hand, on the armrest of her chair, is visibly bruised.

 

NICOLE

It’s been better.

 

DOLLS

Champ Hardy wanted to press charges.

 

NICOLE

So stop pussyfooting and arrest me.

 

DOLLS  
(chuckles)

I’m not here to arrest you. I talked him out of it. You were lucky this time, though. Had it been someone else the outcome might’ve been very different. You need to control yourself, Haught.

 

NICOLE

(sighs)

I usually do. He just...things were said that really struck a nerve. I’m sorry for the trouble, but thanks for taking care of it.

 

DOLLS

She must be a hell of a dame.

 

NICOLE

She is. Or was. It’s over now. Obviously.

 

DOLLS

I’m sorry to hear that.

(pause)

How’s the souvenir by the way?

 

He motions with his eyes towards Nicole’s now healed bullet wound.

 

NICOLE

A daily reminder.

 

DOLLS

Well, hopefully it’ll remind you to stay out of trouble. You know who Hardy works for. Don’t need to be getting involved with that bunch.

 

NICOLE

(bitterly)

I know.

 

DOLLS

Look, I’ve got to get going. Just wanted to swing by and let you know I took care of things. Try not to get into any more bar fights.

 

Nicole smiles wryly and nods. Dolls exits her office.

 

DOLLS

Gretta, always a pleasure.

 

GRETTA

Likewise, Sergeant. You take care now.

 

Dolls exits the building and Gretta makes her way to Nicole’s office.

 

GRETTA

Should I get the stripes ready for you?

 

NICOLE

Aren’t you quick to send me to the slammer?

(chuckles)

Fortunately, the sergeant intercepted Mr. Hardy and convinced him not to press charges.

 

GRETTA

Well, that was lucky.

 

NICOLE

Sure was, Gretta, sure was. But if I see that man child again I’m going to do more than break his nose.

 

GRETTA

Calm down, killer. Let’s hope for his sake you don’t.

 

INT. NICOLE’S OFFICE - NIGHT (Lightning Field - Sneaker Pimps)

 

Nicole is alone in the building. She’s leaning back in her office chair reading some papers, cigarette in one hand. She puts one sheet down on her desk and continues reading. There’s a frantic knock on the front door. Nicole rises and exits her office, passing Gretta’s desk and the kitchen, the shadow of the visitor visible through the frosted glass. She opens the door to Waverly, who pushes past her.

 

WAVERLY

How dare you!

 

NICOLE

Excuse me? What are you doing here, Waverly?

 

Waverly is making her way to Nicole’s office; Nicole follows. Once both of them are in the office Waverly slams the door.

 

NICOLE

No one else is here. You don’t have to close the door.

 

WAVERLY

(unsure of herself)

I know. It was more for dramatic effect.

 

Nicole scoffs.

 

NICOLE

Is this about Champ?

 

WAVERLY

You’re damn right it is.

 

NICOLE

Are you seriously here because you’re upset that I punched Champ Hardy?

 

WAVERLY

Well...no.

 

Both Waverly and Nicole are standing facing each other.

 

NICOLE

(impatiently)

Then what do you want, Waverly?

 

Waverly scans Nicole’s eyes several times before hungrily kissing her. Nicole pulls away.

 

NICOLE

Wait...wait. What are you doing?

 

WAVERLY

I don’t know.

 

NICOLE

Okay.

 

Nicole kisses Waverly, backing her up and pressing her hard against the wall. They stay in this position briefly before Waverly pushes back, leaving Nicole leaning against her desk. They continue to kiss feverishly. Nicole stops her again.

 

NICOLE

(panting)

Okay, stop, stop. What is going on with you?

 

Waverly backs up and takes a cigarette from her purse. Nicole lights it for her. Waverly begins to pace the small room.

 

WAVERLY

I should go. I don’t know what I’m doing here.

 

Waverly briskly heads to the front door leaving a baffled Nicole still leaning against her desk.

 

NICOLE

Waverly, can we please just…

 

Waverly slams the front door shut as she exits.

 

NICOLE (cont'd)

(quietly)

Talk.

 

Confused and upset, Nicole decides to go home. She stacks the papers neatly on her desk and turns out the light.

 

INT. NICOLE’S BUNGALOW - THE SAME NIGHT

 

Nicole walks into her home. Before she can close the door, someone pistol-whips her from behind and knocks her out.

 

INT. NICOLE’S BUNGALOW - THE NEXT MORNING, DAWN (Night - Zola Jesus, string edition from Versions)

 

The sun is barely starting to rise. Nicole is tied to a chair in the kitchen, her head hanging limp. She is gagged with a towel. She starts to move slightly and groan. Robert Svane enters.

 

SVANE

Oh, good, you’re finally awake. I was afraid I had finished you off before my big finale.

 

He walks around her and presses his finger into the wound left by the gun. Nicole hisses through her gag from the pain.

 

SVANE (cont’d)

Hope that doesn’t hurt too much.

(laughs)

I lie. I hope it’s very painful.

 

Svane grabs ahold of the gag.

 

SVANE (cont’d)

Now, I’m going to take this out. If you scream, you’ll be sorry. Understand?

 

Nicole nods.

 

SVANE

Good.

 

He removes the gag. Nicole coughs.

 

NICOLE

Why are you doing this?

 

SVANE

Why am I doing this? Let’s see. Why did my business dwindle? Why am I making significantly less money? Why have I become THE pariah in this town of fucking pariahs? I’ll tell you why - one Nicole Haught. You’re the reason for all my problems. In fact, you are my biggest problem.

(clicks teeth)

And I eliminate my problems.

(pause)

But before I do, I wanted to make sure you suffer. Physically, mentally, emotionally...any way possible.

 

Svane takes a switchblade out of his pocket. He switches the blade out as he walks around the seated Nicole.

 

SVANE (cont'd)

Looks like I was successful.

(pause)

Haught - that’s Scottish?

 

NICOLE

English.

 

SVANE

Close enough.

 

Svane traces Nicole’s jawline, and then around her lips, with the blade. He digs it in a little at the corner of her mouth and starts to cut a “U” (smile) into her left cheek. Nicole is squirming and groaning in pain.

 

SVANE

This...is called a Glasgow smile. I was hoping to give you something from your people but I guess we just can’t have everything. Now…

(pauses to clean his blade)

Now I think you’ve suffered enough. I mean, you could suffer more, but I’m being very kind here.

 

Svane returns the knife to his pocket and pulls his pistol from the back of his waistband. He puts the barrel up against her forehead and cocks the trigger. Nicole closes her eyes. CLOSE on Svane.

 

SVANE

I will end your suffering for I...Am...God.

 

A gunshot echoes through Nicole’s home and into the quiet streets. Svane falls forward onto Nicole and rolls off onto the floor revealing Waverly standing behind him holding a petite gun, still smoking.

 

EXT. NICOLE’S BUNGALOW - THE SAME DAY

 

The coroner wheels Svane’s sheet-covered body out on a stretcher. Police are scattered about, taking photos, jotting down notes, and talking amongst themselves.

 

INT. HOSPITAL ROOM - THE NEXT DAY

 

Nicole is asleep on the hospital bed. The monitors around her are lit up but are silent. She has a bandage on her face where Svane cut her. Waverly is sitting quietly in the room reading a book. Nicole begins to stir.

 

WAVERLY

Easy, sweetie, easy.

 

NICOLE

(trying not to move her mouth too much)

How long have I been out?

 

WAVERLY

Since we brought you in yesterday.

 

NICOLE

Why did you come back?

 

WAVERLY

(teary eyed)

Because I wanted to tell you how sorry I was. I wanted to tell you that I...I want to be with you, Nicole Haught.

(pauses as she starts to cry)

And I almost didn’t get the chance to.

 

NICOLE

Hey, hey. It’s okay. I’m the one with the scarred mug, I should be crying.

 

Nicole tries to smile but groans, immediately realizing that’s not a possibility. Waverly reaches for her hand.

 

WAVERLY

I’m so sorry, Nicole.

 

Waverly squeezes Nicole’s hand.

 

WAVERLY (cont’d)

Can you ever forgive me?

 

NICOLE

Already have, darling.

 

THE END


End file.
